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On the other part, Wayan Geriya also explained that a superior tourism at least indicated a few things, among other cultural-based, environmentally friendly, prosper all components of society and — of course — ongoing (Wayan Geriya, 2006). Thus the development of tourism is indeed quite complex. In addition to selling the natural environment as a power of attraction for tourists, tourism development should also be local culture-based, environmentally, giving influence to the level of welfare of the community around tourist attractions as well as the take place continuously (continuous/continuity). The development of tourism that only sell one product appeal, will undoubtedly result in travelers quickly saturate that ultimately was not interested to come again in the future.
In the context of the tourism industry, the cultural diversity that is sold is a variety of traditional local culture generally sourced from traditional life patterns-agrarian. Cultural variety that grows-grown in an environment of such a society is, generally very close to the traditional belief system. Therefore the aspects of customs and traditions which force the development of tourism can be distinguished into two groups, namely the tradition of ritual to ritual ceremonies and customs, and traditions that are packaged specifically for the enjoyment of the public spacious as well as tourists (arts for mart) (Permas, a., c. Hasibuan-Sedyono, L.H. Pranoto, and t. Saputro, 2003).Banyumas Regency, in the region of the second form of this tradition is still there and allow empowered to can live side by side. Each form has a habitat, the proponent, and the rules of the game itself, which does not need to be debated and confused. Working model as this will put both the tradition of this synergistically to become mainstream public life became at once the main strength of the Banyumas development of tourism.
A series of diversity-oriented implementation of the rituals in accordance with ontological view of society Banyumas, present as an indispensable part of private life and the life of local community groups. While a series of arts-oriented for mart, present as a commodity (the merchandise) which itself should be subject to the laws of Economics and business.
Synergistic strength that can be built by both the range of this tradition takes place when both can support each other and provide opportunities for eksist in accordance with the position, role and function of each. For that is the need for mutual understanding of one another in the context of culture overall as the network link to the meaning of humanity. All parties need to really understand the business processes of cultural tourism. However, all employers engaged in the tourism industry need to understand the nature of a living tradition in the community.
In the context of the implementation of the tourism industry in Banyumas, as far as this diverse local local customs are more often carried to places such as tourist attractions, hotels, restaurants, and others. Diverse works of art produced by the artist and sold through or by the travel agency/hotel that serves as the producer or the event organizer. They become sellers (sellers) work of art traditions to tourists as a customer.
Every event organizer generally strive to design packages of traditional art performances according to the tastes of tourists, then do the purchasing process (selection, ordering, negotiations, and contract) of the artwork tradition of artists art tradition. The design of the traditional peruntujkan package is then promoted and sold to tourists. The next process is the implementation of delivery (delivery) package traditional performing art involving artists with tradition on behalf of cultural tourism.
Artists or arts organisations tradition serves as a supplier for the producer or the event organizer. In a situation like this is the price of the art tradition that produced the public artistic traditions largely determined the position of bargaining (bargaining power) of producer/event organizer who bought its products. The lower the bargaining position of the tradition of the arts community, the lower the prices they receive.
On the other hand the real party producer/event organizer also faces the same thing with the purchasers (travel agency or tourist). They still had to deal with producer-producer of its competitors, with newcomers-newcomers, and with the substitution of cultural tourism products (other types of tours, television, the internet, CD, cassette, etc.). The higher the pressure and threats will be increasingly pressed the advantage gained (selling price or increase costs). To deal with such threats and pressure, they can be forced to lower the selling price or cost to improve the quality of his work. How to work like this the most aggrieved party is artists and arts organizations.
Bargaining position of community art traditions in the context of the tourism industry has ever scrutinized by management agencies PPM in cooperation with Yayasan Seni Taratak, Jambi in May-November 2003. The research was conducted towards the practice of management in 58 organizations of art in Indonesia and specifically by doing observation management against 27 arts organisations in 10 provinces in Indonesia (East Nusa Tenggara, North Sulawesi, Jambi, Sumatra Barat, Lampung, West Java, Jakarta, Yogyakarta, Central Java, and East Java). Before that, management institutes PPM in the period 2000-2001 years has conducted in-depth observations on some of the Organization's artistic traditions in Bali, Jogjakarta, Solo, Bandung, Jambi and Padang.
The results showed that the bargaining position of community art tradition is relatively weak compared to the producer as a buyer. This is due to several factors including:
1. The number of producers is relatively low compared to the number of artists art tradition, with financial conditions are generally much better than the artists artistic traditions;
2. The number of artists or arts organisations of many traditions and each other competing head-on (less compact and less unified), even the often competing with the way specials;
3. Works of art produced by the artist or the Organization of artistic traditions in General is relatively the same, very little that has a very unique work that hard pressed to emulate other artists;
4. Producer move easily from one artist to another artist without reducing the quality of their cultural tour packages;
5. The producer has a relatively complete information about art tradition in a region as well as about the cultural tourism market;
6. The artist's artistic traditions have very less information about the market and tourism industry culture (PPM Management Institute, 2003).
In addition the community artists or artistic traditions are also less able to compete with products such as the substitusinya popular performing arts package, a performance artist, art tradition in television, CD/VCD/DVD/cassette on the art traditions. The substitution products frequently win competing against products of the art tradition, because it is more market oriented i.e. designed, developed, sold, and delivered according to the needs and tastes of the public into its market. As for artistic traditions often performed according the original form or customized if done with a potluck, which often does not match the needs and tastes of the market (PPM management agencies, 2003).
The increased bargaining position and competitiveness becomes very important to the existence and development of artistic traditions and community supporters. In addition to increasing economic prosperity, the bargaining position of the high competitiveness and badly needed by society more generous artistic traditions to produce the products according to their better and ward off attempts of exploitation, looting, and harassment by parties who have less concern on art traditions. Bargaining position with high art tradition, the community has the power to "educate" the buyers or the consumers in regards to the proper appreciation of the finer arts tradition.
From the business aspect, there are several options strategies increased the bargaining position and competitiveness for the community arts tradition in the cultural tourism industry include:
1. develop and market products according to the needs and tastes of each market segment served;
2. Continuously to develop and market a unique product with functions and benefits that are difficult to emulate by substitution products;
3. Improve service to buyer or user, if necessary be given customized;
4. Do the integration to the downstream, i.e. event organizer or producer;
5. conduct cooperation or coalition to confront the power of buyers, suppliers or product substitution (PPM management agencies, 2003).
One of the rules if the success in business is to serve the needs and tastes of consumers consumers are better than the competition, so that customers can be loyal. Similarly, the community's artistic traditions need to know and understand clearly about the needs and tastes of consumers, develop products, deliver products, and provide services according to your needs and tastes of consumers.